User Manual

5.0 Tutorials
5.3 Equalizers
AudioBox
™
iOne and iTwo
Owner’s Manual
40
Shelving EQ
A shelving EQ attenuates or boost frequencies above or below a specied cuto
point. Shelving equalizers come in two dierent varieties: high-pass and low-pass.
Low-pass shelving lters pass all frequencies below the specied
cuto frequency while attenuating all the frequencies above it. A
high-pass lter does the opposite: passing all frequencies above the
specied cut-o frequency while attenuating everything below.
Graphic EQ
A graphic EQ is a multiband equalizer that uses sliders to adjust the
amplitude for each frequency band. It gets its name from the positions
of the sliders, which graphically display the resulting frequency-
response curve. The center frequency and bandwidth are xed; the
level (amplitude) for each band is the only adjustable parameter.
Graphic EQs are generally used to ne-tune the overall mix for a particular
room. For instance, if you are mixing in a “dead” room, you may want to boost
high frequencies and roll o some of the lows. If you are mixing in a “live”
room, you might need to lower the high-midrange and highest frequencies. In
general, you should not make drastic amplitude adjustments to any particular
frequency bands. Instead, make smaller, incremental adjustments over a wider
spectrum to round out your nal mix. To assist you with these adjustments, here
is an overview of which frequencies aect dierent sound characteristics:
Sub-Bass (16 Hz to 60 Hz). The lowest of these bass frequencies are felt, rather
than heard, as with freeway rumbling or an earthquake. These frequencies give
your mix a sense of power even when they only occur occasionally. However,
overemphasizing frequencies in this range will result in a muddy mix.
Bass (60 Hz to 250 Hz). Because this range contains the fundamental notes
of the rhythm section, any EQ changes will aect the balance of your mix,
making it fat or thin. Too much emphasis will make for a boomy mix.
Low Mids (250 Hz to 2 kHz). In general, you will want to emphasize the lower
portion of this range and deemphasize the upper portion. Boosting the range
from 250 Hz to 500 Hz will accent ambience in the studio and will add clarity to
bass and lower frequency instruments. The range between 500 Hz and 2 kHz
can make midrange instruments (guitar, snare, saxophone, etc.) “honky,” and too
much boost between 1 kHz and 2 kHz can make your mix sound thin or “tinny.”
High Mids (2 kHz to 4 kHz). The attack portion of percussive
and rhythm instruments occurs in this range. High mids are also
responsible for the projection of midrange instruments.
Presence (4 kHz to 6 kHz). This frequency range is partly responsible
for the clarity of a mix and provides a measure of control over the
perception of distance. If you boost this frequency range, the mix will
be perceived as closer to the listener. Attenuating around 5 kHz will
make the mix sound further away but also more transparent.
Brilliance (6 kHz to 16 kHz). While this range controls the
brilliance and clarity of your mix, boosting it too much can cause
some clipping so keep an eye on your main meter.